Black History Month Through the Lens of Design
This month, a few of us in the office have been reading Black, Brown + Latinx Design Educators: Conversations on Design and Race. In it is a quote from designer Sylvia Harris:
“Black designers are working at a disadvantage when they do not feel a kinship with existing design traditions and also have no evidence of an alternative African or African American design tradition upon which to base their work.”
The excerpt is taken from a larger article she wrote in 1998 entitled “Searching for a Black Aesthetic in American Graphic Design,” in which she asks,
“What influence have African Americans had on contemporary graphic design? Is there such a thing as African- American design aesthetic? ”
Harris’ essay briefly explores different cultural moments through design history impacted by black influence. As we enter into Black History Month, this made me really reflect specifically on Black Design History.
One designer in particular who stands out for me in the narrative of Black design history is Emory Douglas. Most notably known for his time as the Minister of Culture for the Black Panther Party, his work is unique and also clearly shaped by his community and cultural experiences. So much of making design resonate is about connecting with your audience on a deeper, more human level. Our work becomes so much richer when injected with our own cultures and stories. Douglas’ approach to design was impacted by his human experience and it pushed his work into new places full of innovation.
His iconic illustrations, which utilize black and white with a single punch of color, stem from the necessity of budget — they could only afford to print one color ink.
His work leans hard into illustration because, as he puts it, “the community wasn’t then a reading community, but they learned through observation and participation.” His style was influenced by woodblock printing from notable Black artists like Elizabeth Catlett, playing up light and shadow, but recreated and reinterpreted in marker.
Seeing ourselves reflected in our world and our work is important. “Women, children and neighborhood figures became popular subjects for Douglas, and people began to recognize images of themselves and their community in the artwork.” -AIGA Emory Douglas Design Journey
In the summary of Harris’s essay she writes, “These notes are presented as snapshots and pointers to the research waiting to be undertaken. It is my hope that American designers and scholars will contribute to this body of knowledge and support a generation of designers hungry to see their people and experience reflected in the mirror of our profession.”
We hope that you will join us in continuing to dive into the impact and influence of black designers both past and present. In an effort to elevate the voices of the under-represented (only 3%) in our field, in hopes that we all see ourselves reflected in the mirror of our profession, here are a few contemporary black designers we think you should check out:
